picasso and braque

Juan Gris’s “Breakfast”

Juan Gris was born #onthisday in 1887. Gris favored the papier collé technique invented by Georges Braque and Pablo Picasso. In Breakfast, the artist combines abstract collage with tromp l’oeil drawing, calling the perception of reality into question. Learn more.

[Juan Gris. Breakfast. 1914. Gouache, oil, and crayon on cut-and-pasted printed paper on canvas with oil and crayon. Acquired through the Lillie P. Bliss Bequest © 2017 Artists Rights Society (ARS), New York/ADAGP, Paris.]

Most striking about the traditional societies of the Congo was their remarkable artwork: baskets, mats, pottery, copper and ironwork, and, above all, woodcarving. It would be two decades before Europeans really noticed this art. Its discovery then had a strong influence on Braque, Matisse, and Picasso—who subsequently kept African art objects in his studio until his death. Cubism was new only for Europeans, for it was partly inspired by specific pieces of African art, some of them from the Pende and Songye peoples, who live in the basin of the Kasai River, one of the Congo’s major tributaries. It is easy to see the distinctive brilliance that so entranced Picasso and his colleagues at their first encounter with this art at an exhibit in Paris in 1907.

In these central African sculptures some body parts are exaggerated, some shrunken; eyes project, cheeks sink, mouths disappear, torsos become elongated; eye sockets expand to cover almost the entire face; the human face and figure are broken apart and formed again in new ways and proportions that had previously lain beyond the sight of traditional European realism.

The art sprang from cultures that had, among other things, a looser sense than Islam or Christianity of the boundaries between our world and the next, as well as of those between the world of humans and the world of beasts. Among the Bolia people of the Congo, for example, a king was chosen by a council of elders; by ancestors, who appeared to him in a dream; and finally by wild animals, who signaled their assent by roaring during a night when the royal candidate was left at a particular spot in the rain forest. Perhaps it was the fluidity of these boundaries that granted central Africa’s artists a freedom those in Europe had not yet discovered.
—  Adam Hochschild, King Leopold’s Ghost
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Rencontre avec René Char - RTS Archives.                                                                                                                                                                                           «Nous avons du marteau la langue aventureuse.
Nous sommes des croyants pour chemins muletiers.»
(René Char : Chants de la Balandrane).

C'est en 1967 que Michel Soutter filme René Char chez lui, à l'Isle-sur-la-Sorgue, dans le Vaucluse. Le grand poète a alors tout juste 60 ans, il a reçu l'année précédente le Prix des critiques pour l'ensemble de son œuvre.

Champ libre - 20.11.1967 - Réalisateur: Michel Soutter - RTSR.                                                                                                                                                   L'oeuvre de René Char est marquée par le Vaucluse dans lequel il passa sa vie. Il est né le 14 juin 1907 à L'Isle-sur-la-Sorgue.                                                                                                                                                                                   Son premier recueil de poèmes paraît en 1928, il entre dans le groupe surréaliste et collabore avec Breton et Eluard.                                                                                                                                                                                     La guerre d'Espagne lui inspire des poèmes militants et en 1940 il entre dans la résistance où il devient chef de l'armée secrète Durance-Sud sous le nom de capitaine Alexandre.                                                                                                                                                                                                                           Après la guerre il est en relation avec Picasso, Matisse, Giacometti, Braque et Camus. Pierre Boulez met ses textes en musique.                                                                                                                                                                                 Il était l'amant de sa terre et sa poésie en est le meilleur témoignage. Il entre de son vivant dans la Pléiade en 1983. Il meurt le 19 février 1988 à Paris où il était hospitalisé. «Il fut le poète exact de son temps » lisait-on dans Le Monde le lendemain.

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Aleksandra Aleksandrovna Ekster (18 January 1882 – 17 March 1949), also known as Alexandra Exter, was a Russian painter (Cubo-Futurist, Suprematist, Constructivist) and designer of international stature who divided her life between Kiev, St. Petersburg, Moscow, Vienna, and Paris.

In Kiev, her painting studio in the attic at 27 Funduklievskaya Street, now Khmelnytsky Street, was a rallying stage for Kiev’s intellectual elite. In the attic in her studio there worked future luminaries of world decorative art Vadim Meller, Anatole Petrytsky and P.Tchelitchew . There she was visited by poets and writers, such as Anna Akhmatova, Ilia Ehrenburg, and Osip Mandelstam, dancers Bronislava Nijinska and Elsa Kruger, as well as many artists Alexander Bogomazov, Wladimir Baranoff-Rossine.

In Paris, Aleksandra Ekster was a personal friend of Pablo Picasso and Georges Braque, who introduced her to Gertrude Stein.

In 1914, Ekster participated in the Salon des Indépendants exhibitions in Paris, together with Kazimir Malevich, Alexander Archipenko, Vadym Meller, Sonia Delaunay-Terk and other French and Russian artists. In that same year she participated with the “Russians” Archipenko, Koulbine and Rozanova in the International Futurist Exhibition in Rome. In 1915 she joined the group of avant-garde artists Supremus. Her friend introduced her to the poet Apollinaire, who took her to Picasso’s workshop. According to Moscow Chamber Theatre actress Alice Coonen, “In [Ekster’s] Parisian household there was a conspicuous peculiar combination of European culture with Ukrainian life. On the walls between Picasso and Braque paintings there was Ukrainian embroidery; on the floor was a Ukrainian carpet, at the table they served clay pots, colorful majolica plates of dumplings.”

While not confined within a particular movement, Exter was one of the most experimental women of the avant-garde. Ekster absorbed from many sources and cultures in order to develop her own original style. In 1915–1916 she worked in the peasant craft cooperatives in the villages Skoptsi and Verbovka along with Kazimir Malevich, Yevgenia Pribylskaya, Natalia Davidova, Nina Genke, Liubov Popova, Ivan Puni, Olga Rozanova, Nadezhda Udaltsova and others. Ekster later founded a teaching and production workshop (MDI) in Kiev (1918–1920). Vadym Meller, Anatol Petrytsky, Kliment Red'ko, Tchelitchew, Shifrin, Nikritin worked there. Also during this period she was one of the leading stage designers of Alexander Tairov’s Chamber Theatre.

In line with her eclectic avant-guard-like style, Ekster’s early paintings strongly influenced her costume design as well as her book illustrations, which are scarcely noted. All of Ekster’s works, no matter the medium, stick to her distinct style. Her works are vibrant, playful, dramatic, and theatrical in composition, subject matter, and color. Ekster constantly stayed true to her composition aesthetic across all mediums. Furthermore, each medium only enhanced and influenced her work in other mediums.

With her assimilation of many different genres her essential futurist and cubist ideas was always in tandem with her attention to colour and rhythm. Ekster uses many elements of geometric compositions, which reinforce the core intentions of dynamism, vibrant contrasts, and free brushwork. Ekster stretched the dynamic intentions of her work across all mediums. Ekster’s theatrical works such as sculptures, costume design, set design, and decorations for the revolutionary festivals, strongly reflect her work with geometric elements and vibrant intentions. Through her costume work she experimented with the transparency, movement, and vibrancy of fabrics. Ekster’s movement of her brushstroke in her artwork is reflected in the movement of the fabric in her costumes. Ekster’s theatrical sets used multi-coloured dimensions and experimented with spatial structures. She continued with these experimental tendencies in her later puppet designs. With her experimentation across many mediums Ekster started to take the concept of her costume designing and integrate it into everyday life. In 1921 Ekster’s work in fashion design began. Though her mass production designs were wearable, most of her fashion design was highly decorative and innovative, usually falling under the category of haute couture.

In 1924 Aleksandra Ekster and her husband emigrated to France and settled in Paris, where she initially became a professor at the Academie Moderne. From 1926 to 1930 Ekster was a professor at Fernand Léger’s Académie d'Art Contemporain. In 1933 she began creating beautiful and original illuminated manuscripts (gouache on paper), perhaps the most important works of the last phase of her life. The “Callimaque” manuscript (c. 1939, the text being a French translation of a hymn by Hellenistic poet Callimachus) is widely regarded as her masterpiece. In 1936 she participated in the exhibition Cubism and Abstract Art in New York and went on to have solo exhibitions in Prague and in Paris. She was a book illustrator for the publishing company Flammarion in Paris from 1936 until her death in the Paris suburb of Fontenay-aux-Roses. During the past few decades her reputation has increased dramatically, as have the prices of her works. As a consequence, several fakes have appeared on the market in recent years.

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Wassily Kandinsky Wodcuts,t XXe Siècle, 1911.

These prints are from the second edition printed under Kandinsky’s supervision and issued in Paris for XXe Siecle in 1938 by G de San Lazzaro. The edition was 1200 - although many of these impressions were destroyed during the war.

XXe Siecle (Chroniques du Jour) was a deluxe art revue that was the source of many outstanding prints. It was published by Gualtieri di San Lazzaro from 1938-1939, and again from 1951 until 1978 (known as the Nouvelle Serie). Many important artists contributed original prints, including Miro, Picasso, Chagall, Braque, Villon, Matta, Indiana, Rosenquist, Lam, Dali, Zao Wou-ki, Matisse, Duchamp, Delaunay, Ernst, Poliakoff, Soulages, Leger, Moore, Kandinsky, Agam, Arp, Calder, Magnelli, Baj, Marini and Vasarely.

(via eBay)

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Drawings and Watercolors of Paul Cézanne

Paul Cézanne (1839–1906) was one of the most influential artists of his day, producing work derived from “the most acute sensibility at grips with the most searching rationality” according to his friend, the writer Joachim Gasquet. Honoring tradition while also challenging it, his example made possible the advances of numerous younger artists such as Henri Matisse, Pablo Picasso, and Georges Braque, thereby paving the way for the emergence of modern art.

Cézanne’s novel approach was evident as much in his drawings and watercolors as in his oil paintings. While the hundreds of drawings that the artist left behind in his sketchbooks confirm the centrality of this medium to his artistic practice, his watercolors from the 1890s were undertaken as works of art in their own right. These latter efforts — most of them landscapes and still lifes executed in Provence in the South of France — rank among the finest achievements in this difficult medium from any period.

This beautifully illustrated volume traces the development of Cézanne’s style through his works on paper. Diverse in subject matter and execution, his drawings and watercolors include copies of other masters’ works, studies of his immediate family and their domestic surroundings, and preliminary ideas for finished compositions. They reveal Cézanne as someone deeply committed to devising a process for comprehending and recording the world as he saw it. The result is some of the most absorbing art ever created.

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Amrita Sher-Gil was born on the 30th of January, 1913, in Budapest, Hungary. She was the daughter of Sikh aristocrat scholar and Hungarian-Jewish opera singer mother. She began to formally learn how to paint at the age of eight, although she had been painting already since the age of five. In 1924, when she was eleven, she moved to Italy and enrolled in an art school in Florence. It was here that she was exposed to the old masters works, but she moved back to India that same year. She eventually moved back to India to live full time, from which she drew her inspiration, and was particularly inspired by the Mughal and Pahari schools of painting and the cave paintings at Ajanta. She sought to express the way of Indian life, and the plight of those in poverty and despair. She wrote to a friend on the matter, saying “I can only paint in India. Europe belongs to Picasso, Matisse, Braque…. India belongs only to me”. She died on the 6th of December, 1941, just days before her first major solo show at the age of only 28.

The painting above is called Tribal Women, and was completed in 1938.

Nachtrag NYC

New York City - das bedeutete für uns 9 großartige, erlebnisreiche Tage mit tollen Menschen, leckerem Essen, imposanten Orten, die wir vorher nur aus Filmen kannten, und einer Fülle an kulturellen Angeboten. Und das nach 12 Tagen Ruhe und wenig abwechslungsreichem Alltag auf dem Schiff. Das war eine ganz tolle und zugleich auch anstrengende Zeit, an die wir sicher noch lange zurück denken werden!

Hier noch ein paar gesammelte Eindrücke:

Eine unglaubliche Fülle an beeindruckender Kunst im MET


Im MoMA waren wir natürlich auch - am UNIQLO Free Friday, was bedeutete, dass wir uns mit tausenden anderen Menschen durch die Ausstellungsräume schieben mussten. Das schmälert allerdings nicht das irre Gefühl, wenn man von Raum zu Raum geht und ein Kunstwerk nach dem anderen von Künstlern mit ganz großem Namen wie Matisse, Magritte, Van Gogh, Dalí, Picasso, Braque, Gauguin, Rothko, Pollok, Giacometti, Mondrian, Mirò, Klee, Kokoschka, Beckmann, Cézanne, Monet, Warhol (um nur einige zu nennen), dort hängen sieht.

Massen im MoMA


Nachdem wir am Donnerstag noch Lars’ Geburtstag groß gefeiert hatten, mit einem Besuch im MET (s.o.), leckerem Essen auf Veronikas und Vincents Kosten (Danke!), The Book Of Mormon am Broadway und Times Square, haben wir dann am Freitag unseren Mietwagen abgeholt und sind in ruhigere Gefilde aufgebrochen.


Bye bye, New York! Wir können uns sehr gut vorstellen, wiederzukommen, denn in dieser Stadt, die bekanntlich nie schläft, gibt es noch soooo viel zu sehen!

anonymous asked:

Hi this is an ask for the mun um I'm a beginner at art and wanted to know if you had any tips on coloring in people? (Their skin and stuff) everytime i try it comes out looking bad )'; So i wanted to know if you had some tips for me?

Hello, bananon! Alright, eventhough I said I’d be on hiatus with art and stuff, I simply couldn’t ignore this. I apologize for the delay, as I tried to work on materials to show you how I do my stuff. I’ve never seen your artwork, so I can’t tell you exactly where you need to work on, so I didn’t knew what exactly you were looking for, so I’ll give you and everyone a walkthrough on how I color in general. English is not my first language so expect mistakes, if you don’t understand something, feel free to ask!. It’s gonna be long so sit tight.

Ok, first things first I get my sketch

I prefer to do my sketch traditionally because I have a better control over it and has a natural feel to it. Also, no face, because the size of the sketch was too small to draw it in, I normally draw faces and expressions beside the sketch or digitally do them before stepping into the lineart My prefered program is Paint Tool SAI

Lineart

After I defined my sketch I dive in into lineart on a new layer above, here are my prefered brush settings with stability set at S-5 because my hands are a shaky mess. I Named this brush John Cena. I’ll explain how I do lineart some other time, but in general, I make sure the outer lines are closed and without gaps.

Selection

Choose the magic wand tool and slect the outer area of the character or whatever you’re coloring. 

Before I go in and expand my selection, I go ahead and fix imperfections and major lumps the magic wand failed to reach. Like the ones I circled above, let’s get rid of em lil shits! :U For the lumps circled in red, I used the selection tool that has it’s brush settings similar to my John Cena brush. For the one circled in orange I use the magic wand.

Now it’s all clean and sparkly!

Now go up and choose selection and then increment ( or expand, whatever program you use todo digital art )

And it should look like this!

Go to selection again and choose invert.

Tadah! We managed to select the entire object without much headache! Now we can finally move to coloring.

Coloring

Make a new layer below your linart layer, name it however you want, and then choose a color you like. I normally like to choose a darkish gray color, but today I’m gonna choose hot pink because I felt like annoying the heck outta Eirik. Use the bucket tool to fill in the selection. This layer will allow you to see paler color ( like skin, eyes, deails ) easily and prevent you of havin gaps within the coloration.

Now before I color, I like to determine the light source and how my shading will look like. I make a new layer above the carbon copy layer.

And determine my light source and shadows. I used very simple shapes with the yellow color, I like to use complementary colors for this. Breaking down an object into simple and geometric pieces will help you understand how an object interacts with the light source and its environtment in the picture, Cubists and Impressionists ( eg. Cezanne, Picasso, Matisse, Derain, Braque, Lhote  ) used this technique into their arts for the same reason. Save a copy of this so you can use it later.

Example 1 - example 2

Up there are practice examples to show case what i mean You can try practice this on your own, take a Hellanistic sculture portrait and trace over them the guides ( I encourage tracing only in practice use and/or if credits and permisssion are asked, don’t do it anyhwere else ). Colore the the lighter side with the warmer complementary color, and the shades with the colder.

Ok back to the tutorial.

Create a folder above the carbon copy layer, and clip it.

Then make another group in it with an actual layer in it ( think of babushka dolls lol ), the entire folder will make eveything inside of it a clipping mask, previnting my coloring to go anywhere outside the carbon copy. Fore each character’s part, I make a different group so I’m organized.I always begin with the skin because it’s beneathe everything. ( clothes, hair, etc. )

See what I mean? If I didn’t clip the group, my colors woul run over like in the picture below.

Shading

Make a layer above your base color, I set the layer in multiply, adjust the opacity how I want and added the fringe effect with a 50-60 ish strenght with the width as thin as possible, this will give my shading a crisp and anime-like look. I’m using the John Cena brush for shading too. Oh and remember the copy of your light and shading guide? Open it up and now we can use it as our shading reference!

I used a dark grayish purple color for the shading. I always prefer to use gray or purple or a combination of both for everything I shade, as they’re the most neutral ( purple being both warm and cold color ) to work with. Avoid using warm colors ( like red, deep pink and orange ) for shading as warm colors don’t enchance the depth of the shadows.

Sometimes, I like to smooth out some parts of the shaddow, to give it a fading and natural look to the character. Like Eirik’s triceps and under his cheekbones. I make a new Air Brush, let’s call this one CroCop!

First I delete some of the shading where the lines don’t meet, using the John Cena brush, then more so with CroCop, and finally, use the bluur tool with a very low opacity and size to smooth it out.Make sure you checked this tiny lil box, this will turn you color into transparency and work as a eraser but with the brush setting you’re working with, neat stuff, huh?

I make a new folder and a new layer in it for clothes. Unlike on my skin layer where I colored in carefreely, I went ahead with John Cena andprecisel outlined the hae of Eirik’s shirt, making sure it had no gaps.

And then filled in the outline with bucket tool, made a new clipped layer above to draw the shirt’s design, then merged the two. 

Now I simply shade it the same settings and options I did with the skin, however, this time, the shading layer is clipped so it doesn’t go over the skin layer. I used the shading guide and references online to get an idea how to shade folds. You should NEVER be ashamed for using references, you have absolutely no reason to be stubborn about it, references are there to help you improve your art.

How I shade pants, depends on what material they’re made of. In this case, i have black leather pants. Because they’re black, the way i shaded them are opposite than what i normally shade. I first color in th dark part, then with the John Cena brush draw in the midtone according to the light souce, and finally, a dark purplish tone as a highlight. Depending on the material, I also like to add a color with CroCop brush. In real life we see this a lot, when the coloration of the background or the surface beneathe us are bounced off and reflects on our skin and other smooth materials.

Now onto the fabulous hair! The same way like the shirt, I first do an outline for the hair following it’s respective shape then fill it in. ( all in a different group and layer that’s above the clothing group ) Because Eirik has a very dark hair, I doodled a purple colored strand of hair to show you how I shade hair easily.

I used a midtoned gray color on a new layer above hair base colorm set the same shading settings ( multiple, fringe, etc ) and shaded the ends of the hair, the red doodle above shows you how the strokes go, like a water sprinkler, it goes from narrow to wide as it follows the hair tip.

I make a new layer between the shading and base layer ( both shading and highlight be set at clipping mode ) I used te base color and set the highlight layer in screen mode to add te highlights. Onwither hair strands I used H shaped strokes, for smaller strands I used a Wi-fi shaped strokes.


Now the final steps, I go over to the lineart layer, make a new layer on top of it and set it as a clipping layer. Then I use a purplish flesh color to color in his scar ( people with very pale complection have purplish scars ) The two colors next to Eirik are what I use to torture him color/draw scars on him.

Finally on the same layer, i take a dark salmon and color the outlines of the skin ( with exception of eyes and tattoos ). This gives a really nice and smooth and natural look to a character.

I colored in the rest and the details the same way like the rest and this is our final product! This is how I typically do my cellshaded works, I hope this can somehow help you!

Extra:

Because Eirik in this picture has rather small eyes, I did a seperate walkthrough on how I do eyes here. ( Sorry about the typos >3>;; )

Cubist Masterworks at the Met

In the magazine this week, Peter Schjeldahl reviews a show at the Metropolitan Museum with works by Picasso, Braque, Gris, and Léger:

“Cubism is hard. It was meant to be. That fact, coupled with the style’s subsequent penetration into all manner of visual and intellectual culture, assured it immortality. Sometimes I think that I don’t like Cubism, while knowing that that’s not a good enough excuse to ignore it. Cubism is artistic modernity’s master key.”

Above: Picasso’s “Nude with Raised Arm and Drapery” (1907), from the Lauder collection. Image © 2014 Estate of Pablo Picasso / Ars, NY.